Andrew Reid

"Crash and burn" as Spielberg put it.   He's right isn't he? Implosion pending..

The EVF may be expensive, but there is no competition.   I really like it.   I'm surprised Sony didn't bring out two different EVFs for the RX1 and RX100. That would have been a worse rip off. If you own both cameras the EVF works out at 200 euros per camera which is more reasonable.   RX1 is crazy expensive but again there's no competition. Nothing that small has that image. Nothing.   I will get the RX100 Mk II as really like the idea of articulated screen and EVF with that lens and stabilisation for run & gun video. Can at least sell the RX100 Mk 1 to recoup some cost!

Here is the SLR Magic 11mm F1.4. Covers!  

[media]http://vimeo.com/69803484[/media] Red shooter Ryan Lightbourn has been combining the Red Scarlet-X and raw shooting 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III's raw prowess. [url=http://www.eoshd.com/content/10741/raw-5d-mark-iii-vs-red-scarlet-for-1080p-delivery]Read the full article here[/url]

No continuous shooting rate has absolutely nothing to do with card slot write speed. What you fail to mention is the 70D doesn't do 7fps raw stills continuously. In reality, they do a burst of raw stills (approx. 30MB each) to the internal buffer memory (usually around 512MB) and when it fills up you get a true reflection of the card write speeds, since it is now emptying the buffer to the card whilst making space in the buffer for more photos. So the photos can only then be written to the buffer at the rate it is emptied to the card. You will get about 17 raw frames at the full 7fps until the buffer fills and the card becomes the bottleneck, then it will be approx 1.5fps to the card (30MB per frame with a maximum SD card slot speed of 40MB/s). 5D Mark III is now writing 103MB/s continuously to the card, even with all the overheads on the CPU. If you need raw video, there's only one candidate leading the pack. 50D however - now that's a bargain.

  90Mbits/s = 11.25MB/s. Max on the 6D's card slot was 40MB/s for raw video. 1080p raw requires 80MB/s. That is 640Mbits per second. To avoid confusion I usually write Mbits rather than Mb/s.

SORRY meant 90Mb/s (bits not bytes).

Finally after 4 years a genuinely new sensor on a Canon APS-C camera! The 60D was one of the best value cameras in the Canon range and the 70D is a nice step forward albeit at a higher launch price this time ($1199). It has a brand new sensor promising improved video quality and reliable AF tracking but the lack of compact flash card slot will hold it back when it comes to any raw video potential. [url=http://www.eoshd.com/content/10734/my-take-on-the-canon-70d]Read the full article here[/url]

If you guys are having personal issues I suggest first to sort those out behind closed doors. Then I recommend getting the right info out there (maybe a FAQ, and credits would be good place to start?) so I can draw attention to on your work accurately. It is impossible to cover the hack otherwise.

  Agreed. Raw isn't a look. The biggest mistake people make with freedom is to abuse it by sliding the highlight recovery to maximum and lifting the blacks 3 stops.   If someone wants to crush the blacks, that's their choice and there are aesthetic reasons for it.

Not sure about zero shadow detail. Different displays have different black levels so what you're seeing is unlikely to be the same as what the creator sees. I think there should be stricter worldwide standards on display calibration and less ability for the user to change it around.

I honestly don't see the problem, it is really aesthetically pleasing as a short. Good luck getting this image from H.264 especially with such a heavy grade on top! The detail really pops too. Remember how soft and mushy the H.264 is?

You're mistaking raw for flatness and low contrast. Just because you have access to something doesn't mean to say you should turn it up to 11 and bring the shadows hurtling into the mids. In my opinion, most of the time blacks should be black not grey.   Check out Hunter Richards 'Alexa LUT'. It helps people avoid grading decisions like that.

[media]https://vimeo.com/69294861[/media] Turning red blood green with raw on the 5D Mark III Andrew Wonder (Undercity / blog) has just released a narrative short film shot in anamorphic (a modified Iscorama called the Wonderscope) on the 5D Mark III in raw. Here is a guest post from Andrew on the making of it and his take on the DSLR raw revolution. [url=http://www.eoshd.com/content/10697/skin-first-short-film-to-use-5d-mark-iii-magic-lantern-raw-a-guest-post-by-andrew-wonder]Read the full article here[/url]

Our favourite GH2 hacker Vitaliy Kiselev has just released version 2.55 of "NTool", his firmware patcher for Nikon cameras. Vitaliy says there's references to 'LiveView Raw' in the firmware. What does it refer too? [url=http://www.eoshd.com/content/10691/nikon-d7100-has-reference-to-liveview-raw-in-firmware-and-vitaliy-kiselev-working-on-patches]Read the full article here[/url]

I've never seen an Isco 1.5x anamorphic like this before.   http://www.ebay.de/itm/ISCO-ANAMORPHIC-ATTACHMENT-/271190922952?pt=DE_Foto_Camcorder_Objektive&hash=item3f243d16c8&nma=true&si=ed8Zh6HyXoULaT%252FPIw6ryN1zQ2E%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557     Looks similarly modern, as the Isco 2000 focus through anamorphic but it has a focus barrel!

Peederj, when I get tired of reading the same stuff on my own site, I have to make decisions to edit. If you don't want to be chopped I suggest you change the record. No more fanatical anti-BMCC rants and no more C100 fanboyism appended to my editorial OK? Can't you just try and be normal? We're not here for your winding up or for your entertainment. Try and offer us something more than just a headache. I'm getting really tired of it and it lowers the tone of the forum. You're affecting the quality of the site for everyone. Don't think I won't do something about it if it continues.

There's no compelling image quality reason for me to want to go to the C100 now I have raw on a full frame sensor, a very small package and affordable at that.   Pocket Camera is interesting as it adds Super 16mm to my palette. See recent post on c-mount lenses.

Above: EOSHD picked up this Bolex H16 for under 400 euros - it came with a complete set of Schneider Xenon lenses I love the 16mm and Super 16mm format and there are two cameras on the horizon that could offer very exciting images. Digital Bolex with their global shutter, raw and extensive feature set then Blackmagic with their diminutive Pocket Cinema Camera which shoots ProRes and raw. With only weeks to go until the expected Pocket Cinema Camera shipping data I've been stocking up on c-mount lenses. Here's a guide to which ones work, which ones don't, and how to spot a bargain. [url=http://www.eoshd.com/content/10683/how-to-get-bargain-16mm-cine-lenses-for-the-upcoming-blackmagic-pocket-cinema-camera-and-digital-bolex]Read the full article here[/url]

The 5D3 uses dedicated chips for various tasks. H.264 has a dedicated chip. ML runs on the general purpose CPU, and that isn't as fast as the more modern kind you'd find in a GH3 or smartphone.   Canon are using old architecture and off the shelf chips. HDMI for instance, also has it's own chip.   These chips only do one thing and can't be programmed by Magic Lantern if they don't support the instruction.   So don't hold out for MJPEG. Unlikely to happen.

Make sure you have the ML greyscale preview enabled and it is not set to Canon preview. I'm not sure if it is 100% accurate yet - only just got my 50D. Perhaps Julian will know better. It is still early stages code and large parts of it are experimental so you can't expect perfection. Go with the 5D Mark III if you need no moire - but the 50D is still incredibly capable for the money. Mine cost me 400 euros and the 5D Mark III is 3000.

So you're suggesting that CVP use our deposit money to pay for a giant shipping container.   Seems unnecessary for the kind of quantities the BMCC was shipped in, so your argument falls flat at the first hurdle.   Not that it is really an argument against the Pocket camera itself(!?!) which you haven't yet addressed.   I find it hard to understand why you hate ProRes and raw in a $999 camera so much. Not to mention one that offers full compatibility with beautiful c-mount / Bolex / 16mm glass and has an active Micro Four Thirds mount.   It's another creative tool. If you don't need it, feel free to stick to your C100 but don't bother us about it. We don't' care.

I think it was a decision made a while ago, before this happened:   FS700 - raw - Cinema DNG on Convergent Design Odyssey 7Q BMCC - raw - Cinema DNG on SSDs BM Pocket Camera - Cinema DNG on SD cards BM Prod Camera - 4K compressed Cinema DNG no less! Canon 5D Mark III - native raw converted to Cinema DNG in post 5D Mark II - ditto 50D - ditto 60D - ditto 600D - ditto 550D - ditto Did I miss any? Ikonoskop - Cinema DNG KineRawS35 - Cinema DNG KineRaw Mini - Cinema DNG   So yeah, really wise of Adobe. Well done.   How about they drop AVCHD support next?

  I'm not assuming I know that for sure they don't!   And yeah, Pocket camera is SOOOO difficult to use. Oh the pain of having to put a lens on a Micro Four Thirds camera, focus it, and press a record button.   It's enough to make me want to go back to 16mm and crank handles!   Modern technology huh!?

Depends on the shot.   I wouldn't use the 50D for wides. The lower resolution will show up on those shots, as will aliasing / moire quite often as well.   I'd use the 50D for telephoto work especially in crop mode, and as a B cam at fast apertures with a 50mm or longer prime, then it will cut in easily with the 5D3. Image is generally lovely.